09 Jun 2012
L’olimpiade, Venice Baroque Orchestra
Over 60 composers (including Beethoven) wrote music inspired by Metastasio’s L’olimpiade.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
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On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
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The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
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Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
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It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Over 60 composers (including Beethoven) wrote music inspired by Metastasio’s L’olimpiade.
The Venice Baroque Orchestra brought to London their pasticcio, selecting 16 settings, organized around the original play.
Metastasio’s libretto, L’Olympiade was a popular choice for composers in the 18th century with settings by composers such as Caldara, Hasse, Vivaldi, Galuppi, Cimarosa, Paisiello and Cherubini. Donizetti even started a setting of it. The plot is the usual mix of co-incidences, mistaken identities and love thwarted. In fact the plot summary could be read as much as “Carry on up the Olympics” as an opera seria.
Whilst Vivaldi’s setting has received recent revivals, the Venice Baroque Orchestra under Andrea Marcon decided to explore the full gamut of settings of the libretto. At their concert at London’s Queen Elizabeth Hall on Monday 28 May they present a pasticcio made up of music from 16 composers. Pasticcios were common in the 18th century, with music taken from a variety of composers. The Venice Baroque Orchestra chose to present Metastasio’s libretto as he first produced it, ignoring the many changes that subsequent composers made. It was common to replace aria text and even to trim the recitative, so that for instance Vivaldi’s version of the opera makes significant changes to the aria texts.
The Venice Baroque Orchestra presented all of Metastasio’s arias but omitted all of the recitative. In the 18th century, a pasticcio would have recitative by a particular composer to bind the arias together. At the Queen Elizabeth Hall we had just the arias, linked by written plot summary.
We opened with Leonardo Leo’s sinfonia for his setting premiered in Naples in 1737, a short, no nonsense piece which displayed the orchestra’s wonderfully crisp, up-front playing. From then on we skittered through the next 50 years. Without the recitative it was difficult for the soloists to give a coherent sense of character given the variety of settings. For example Romina Basso as Megacle sang arias by Hasse (1756), Gassmann (1764), Cherubini (1783) and Jommelli (1761). It was difficult to grasp the feel of the complete operas, particularly as the styles of the settings varied from Caldara’s baroque setting, through galant and classical all the way to Cherubini.
This is where the logic behind the performance also fell down. In the 18th century a pasticcio would have had recitative and arias selected from a small group of contemporary composers, probably linked by style. Here we had no recitative and composers of a bewildering variety of styles. So it was as a concert, rather than an opera, that we have to think of this.
Basso as Megacle (one of the two male characters played by female singers), had a fine mezzo-soprano voice. Her opening aria, by Hasse, provided her with some suitably brilliant music which she executed quite superbly. However Basso had a rather odd performance style, rarely looking at the audience and waving her arms in the air in a strange manner. The result rather led to a strong lack of audience engagement, but her brilliant technical performance compensated to a certain extent.
The other male character, Licida, was played by mezzo soprano Delphine Galou. She opened with an aria by Galuppi from 1748, rather more early classical in style. Galou had a stylish delivery and an attractively dark, veiled voice. She went on to sing an aria by Vivaldi and a further one by Galuppi.
The two heroines were sopranos Ruth Rosique and Luanda Siqueira as Aristea and Argene. Rosique opened with an aria from 1786 by Paisiello in a lovely, expressive performance, following this with music by Gassman, Caldara (the libretto’s original setting), Leo and Piccini. Siqueira started with an aria by Sarti from 1778 in galant style, then covering music by Perez (written for Lisbon in 1753), Traetta and Pergolesi.
Tenor Jeremy Ovenden as Clistene had a series of high tenor arias, from Josef Myslivecek (a friend of Mozart’s), Jommelli and Cimarosa. Ovenden had a fine technique, a nice vibrant tenor with a free and easy top, he displayed little effort when it came to the tessitura of the arias.
Counter tenor Nicholas Spanos had a smaller role and displayed a rather careful technique in arias by Hasse.
One of the interesting things about the concert was the contrast between the various styles of the arias. We had galant music by Sarti, baroque music by Caldara and Vivaldi, late baroque style music by Traetta, music of an early classical feel by Jomelli, classical elegance from Piccini and of course a fully developed dramatic scene from Cherubini. Missing from the list, unfortunately, were Sacchini and Donizetti; it would certainly have been interesting to see what Donizetti made of it.
Hasse came out top with five items in the concert, showing how he was brilliant at writing elaborate arias which displayed voices at their best. The most intriguing was perhaps Traetta whose Act 2 arias for Siqueiria left me wondering what the remainder of his opera would be like. Another fascinating point was the way that composers from the classical period continued to write Da Capo arias.
In the programme book, Reinhard Strohm talked about the perfection of Metastasio’s work. A perfection that modern listeners often find it difficult to detect judging by the reviews of recent performances of Vivaldi’s L’Olympiade where reviewers have had difficulty taking the plot seriously. This is one of the problems with this genre, we have not yet learned to listen to settings of Metastasio’s texts. Contemporary ears have trouble finding balance and perfection and see only contrived co-incidences. Hasse in particular was strongly associated with Hasse, and most of the composers included in the evening would have regarded his libretto as a serious object worthy of setting.
The performances from the Venice Baroque Orchestra under Marcon were simply stunning. The orchestra had a fine technique, with a bravura feel to it which just asked to be listened to.
As drama, the performance was lacking. The programme probably works better as a CD than as a concert performance of an opera. But Marcon and his cast gave us a string of extremely fine performance which just made one sit up and listen.